![]() ![]() Given that you’ll eventually have both mastered and unmastered versions of the project, it’s worth using colour-coding to distinguish between the two stages of production (mixes and masters). In the case of mastering, therefore, it’s best to work to a system that uses a different track for each song in your playlist, allowing you to audition and instantiate different mastering settings for each song, as well as getting some indication as to how the tracks might be best ordered to make a complete listening experience. Even if you’re not assembling a full CD, it’s highly likely that you’ll be working with a collection of songs, trying to ensure that there’s some consistency in level, punch and timbre across the various mixes. In mastering, though, the equation is slightly different in that we’re dealing with a series of songs that need to be knitted together in sequence to form a final playlist. In Logic, we’re typically used to working with a series of tracks, each representing a different instrument that contributes to a bigger overall mix. ![]() As such, it’s an invaluable insight into familiar features in a new application – whether it’s screensets, markers or track bouncing – as well as illustrating a typical mastering workflow in a step-by-step fashion. In this tutorial, therefore, we’re going to take a broad look at mastering workflow in Logic. However, given the different set of sonic objectives, it’s inevitable that your workflow needs a degree of tweaking, whether you’re using existing tools in a new way, for example, or using a different set of mastering-orientated features. Although professional mastering engineers tend to adopt a dedicated mastering platform such as Pyramix for their work, the majority of musicians usually turn to an existing music-based DAW to master their compositions. ![]()
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